In measures 65–70 of the Finale, Ives writes music for the 2 Clarinets, 2 Oboes, and the lower staff of the High Bells that temporally synchronizes with the BU. Perhaps because the instruments are playing onstage with the Main Orchestra, Ives notated their rhythms as a series of eight quartuplets evenly spread across two cycles of three $2Main Orchestra measures, as shown here on two consecutive systems (m. 71 is included to match p. 126):

In the performance score (pp. 125–126), the quartuplets have been written out using equivalent rhythms. The parts include “counting” numbers to help players keep their place (a helpful editorial device that has been applied in the parts to the longer measures throughout the Finale, not just in this section), and the effective rhythms appear on a cue staff below, as shown here in this representative Clarinet part:

Because the BU ensemble is spatially separated from the main OU orchestra, it is unlikely that the five players (2 Oboes, 2 Clarinets, High Bell) will be within the line of sight of the conductor of the BU. Therefore, they will simply follow the main conductor using the principal notation provided in the full score and parts. However, in the unlikely event that these instruments can, in fact, see the BU conductor, a modified “restoration” of the original notation appears on a cue line in their parts (as seen above in the Clarinet part example). This cue line may be helpful for individual practice purposes, as it serves as a realization of the effective rhythms of the passage. Should the BU conductor (or yet another conductor) wish to conduct these instruments to the beat patterns of the “restored” notation, the following is a digest of the affected parts in mm. 65–70 (and 71 to match p. 126 of the score):

2013